My Name is Red (1998), by Orhan Pamuk, translated by Erdağ M. Göknar

My Name is Red is another book that indulges my interest in illuminated illustration.  I bought it ages ago when it won the IMPAC prize in 2003, but although Pamuk has since become one of those authors whose books I try always to read, until now I had never got round to reading the one that made him famous to ordinary readers in the Anglosphere.  It's taken me ages to read it, because I as-good-as read it twice, backtracking over the chapters as I fitted the pieces of the puzzle together but also as I formed a more coherent understanding of the principles of Ottoman art in the 16th century.   (You can read a succinct summary about it here but I made my discoveries from reading the novel).

The novel is a murder mystery in the style of Umberto Eco's The Name of the Rose or Iain Pears' An Instance of the Fingerpost but it's also a love story and a meditation on a transitional period in Ottoman art.  At the same time it also explores one of Pamuk's central preoccupations: the contest between modernity and tradition; and between the West and Islam.  He does this through an exploration of the Islamic art of miniatures, setting his novel among master miniaturists under the leadership of Master Osman, a character based on the real life Nakkaş Osman, the chief miniaturist of the Ottoman region in the 16th century.

When I visited the Alhambra in Granada, I wasn't all that excited about Islamic art because representation of the human form was not allowed and my interest waned after a few chambers of what looked to me like endless repetitions.  But actually Ottoman art covered a vast area, and it was influenced by Persian and  Chinese art, as well as the Franks and the Venetians with whom the Ottomans were consorting as they conquered bits and pieces of Europe.  There was also a significant difference between public art, and the exquisite private artworks commissioned by successive Sultans who liked, as rulers do, to acquire self-aggrandising artworks that feature their importance.  So it's not at all surprising that when the Sultan of Pamuk's novel caught up with the idea of Renaissance portraiture from Genoa and Venice, he liked the idea of a portrait, accompanied by items significant in his life as a demonstration of his power and majesty.

However, it had to be kept secret, even from his coterie of miniaturists in the atelier that illustrated his artworks.  Because there were fundamental incompatibilities between Ottoman art and European art, which was judged impure and blasphemous.  The novel features a fundamentalist Hoja (rather like Savanarola). He denounces such wickedness as drinking coffee and storytelling that's not from the Koran, and he has a bunch of followers a bit like Hitler's Brownshirts so everyone involved in the Sultan's book has to be very discreet.

An image of musicians and dancers entertaining the crowds, (found in the Surname of 1720) shows the problem: all the faces look exactly the same except for a moustache here and there;  it doesn't conform to our ideas about perspective because all the people are the same size; and it's not signed.  Artworks, as the murderer explains to us, are supposed to be copies of what was done by the old masters of Shiraz and Herat, who drew the images as Allah would have envisaged and desired.  The picture is supposed to be seen from his viewpoint i.e. up on high. Individuals in the picture should not compete for importance, and the painter should not attempt to develop an individual style or expect recognition (i.e. or sign their work) because that is self-aggrandisement.  And pictures are also not supposed to be complete (as a Western painting is) without an accompanying story.

The un-named murderer is only one of many narrators.  There is also the hero Black recalled from exile to help with the Sultan's secret book; the unattainable lady he loves, who's called Shekura; the corpse, who turns out to be Elegant Effendi;  and Shekura's father, protecting her from Hasan, her disagreeable brother-in-law who wants to marry her since her husband hasn't come back from the war.  Then there are the artists:  Master Osman and his acolytes Olive, Butterfly and Stork, all of whom are suspected of the murder because they (a) had reason to be jealous of Elegant Effendi and (b) because they have conflicting views about the morality of working on the Sultan's book. There is Esther, a Jewish go-between, playing Hasan and Black off against each other; and there are also impersonal narrators who include a dog; a horse, a gold coin; a couple of dervishes, Death, and Satan.  It might seem confusing, but the novel is tidily chronological and this collection of narrators only adds to the fun in trying to work out who the murderer is.  Because of course, he's not the only one who's an unreliable narrator.

It is a long book at 503 pages, but I loved it.  I was fascinated by the musings of Black, reconciling his faith with 'modern' artistic trends.  I liked the cleverness of the way the book is constructed in what I understand to be classical storytelling form.  (I learned about this storytelling technique from The Storyteller of Marrakesh by Joydeep Roy Bhattacharya). I admired Pamuk's homage to the anonymous painters who suffered so grievously for their art in this period, and enjoyed learning about their style and why those lovely paintings are the way they are.  I was also pleased with myself when I recognised the patterns of three and realised that there were going to be three murders, and even more pleased with myself when I worked out whodunnit some pages before The Big Reveal!

I've read some great books this year, but this might well be one of the best.

Author: Orhan Pamuk
Title: My Name is Red
Translated by Erdağ M. Göknar
Publisher: Faber & Faber, 2001, first published 1998
ISBN: 9780571212248
Source: personal library, purchased from Readings $21.00

© Lisa Hill

Cross-posted at ANZ LitLovers where you can join in a conversation about the book if you want to.

 

My Name is Red by Orhan Pamuk

(Turkish title: Benim Adim Kirmizi) - 1998

Reviewed by Marianne
from Let's Read

Every year, when the new Nobel prize winners are announced, I wait eagerly for literature recipient. Seldom have I been disappointed with their books. 2006 year was no exception, on the contrary.

Orhan Pamuk is one of those rare authors who seem to have reinvented the art of writing. His style is quite unique. Even though he settles his story in the 13th century, it applies to actual problems and facts in a way nobody else seems to be able to do. I have since read quite a few of his books, he is absolutely fabulous.

The narrator of the novel changes in every chapter which gives you an insight into the whole story that is beyond comparison. You don't just get the view of quite a few of the characters (including the person who gets murdered right at the beginning of the story) but also of animals and the painting around which the story revolves. This novel doesn't just give you an insight into Islam and art, a tour around Istanbul and life 700 years ago, it is an expression of the quest for the meaning of life.

A wonderful author. One of my favourites.

And here is a brief compilation of our discussion in the book club (years after I read this for the first time). There are a couple of small spoilers in there, so if you haven't read the book, you might not want to read this.

There were a lot of topics, not such an easy read. Many characters, lots of unexpected situations and philosophies. It was not just a murder mystery, there are so many layers. Someone found the book too large. We liked the chronology in the back of the book, unfortunately, it wasn't in all the different editions.

The book didn't grip you right away, only after about 100 pages does it get really interesting. Great writing. No doubt. The author obviously likes to shock his readers. Some couldn't put it down after a while, others still didn't finish it.

His language is quite florid, like Persian that was at its peak at that time, then the arts fell out of favour.

The author uses imagery very well, very colourful writing. He compares the art of the Eastern and Western world, the different way of painting, the religion and culture. Miniaturist Painting was prevalent though that region and time. Art, science, philosophy, concept of making everything realistic is going out of fashion, everything is more abstract now, see the pointillism. Orhan Pamuk wanted to be an artist, he educates us about art history. We enjoyed learning about the art part, depending on who was speaking, seeing how dedicated they were. The descriptions of Istanbul were very good, those of us who had been there enjoyed it especially. We would like to read something else about that time period.

His look at the world is fascinating.

We also had a talk about different cultures and how much they should assimilate when in a foreign country. We agreed that nobody should give up their own culture (but definitely abide by the law of the host country) but try to bring them together, social media is a good help.

We had a discussion about why they always use beautiful young boys or men for their pleasure.
We also wondered why Osman pierced his eyes.

Most of us were surprised who the murderer was.

From the back cover:
"In the late 1590s, the Sultan secretly commissions a great book: a celebration of his life and his empire, to be illuminated by the best artists of the day - in the European manner. At a time of violent fundamentalism, however, this is a dangerous proposition. Even the illustrious circle of artists are not allowed to know for whom they are working. But when one of the miniaturists is murdered, their Master has to seek outside help. Did the dead painter fall victim to professional rivalry, romantic jealousy or religious terror?

With the Sultan demanding an answer within three days, perhaps the clue lies somewhere in the half-finished pictures . . . Orhan Pamuk is one of the world's leading contemporary novelists and in My Name is Red, he fashioned an unforgettable tale of suspense, and an artful meditation on love and deception."

We discussed this in our book club in February 2013.

I also really enjoyed "The Black Book" and "Istanbul - Memories of a City"

Orhan Pamuk "who in the quest for the melancholic soul of his native city has discovered new symbols for the clash and interlacing of cultures" received the Nobel Prize for Literature in 2006. 

Orhan Pamuk received the Peace Prize of the German Book Trade (Friedenspreis) in 2005.
  Read my other reviews of the Nobel Prize winners for Literature.  

Original Post on "Let's Read".

My Name is Red by Orhan Pamuk

Crossposted from my blog:

Title: My Name is Red
Author: Orhan Pamuk
ISBN: 0375706852
Publisher: Vintage International/2001
Pages: 413

I had started this book in January. For some reason, it stayed at page 43 for a few months. I again picked it up in April. I only read upto page 59. However, finally I decided to finish it this week. Today I did. You can say that I plodded through the book. It could only hold my interest after I had read it half way through.

This book has many layers to it. A murder mystery, a love story and also speaks out about Islamic society. One can feel the tensions throughout for the rise and fall of various empires which is told by the way of miniature art. At some point in the book, we do not care who the murder is but get involved in the treachery of politics, the love affair and want to know more about the Islamic society. Being an Indian, and knowing a bit about Islam did help me.

There is clash between cultures. Between spirituality and materialism. Between getting fame at whatever cost and bowing to art. Between God's will and man's doing. How does one define sin? Can one justify it? Does it merge somewhere? Is there really a fine line? These are few of the questions one asks while reading. A few get answered, a few don't. That does not take away anything from the book. We can see the eternal conflict between the old and new, and tradition and change i.e., that of East and West. Then there are those artists who only depend on copying, others who want to take in the western influence to show other perceptions.

This book has been narrated in many voices, mostly human. However, a few include a horse, a dog, a tree and a coin. Also we see voice of death. One tends to get different perception in this way of speaking. The novel begins with the voice of a dead person, the recently killed Elegant Effendi. His murderer is a recurring character, telling his story both anonymously and also as a character not identified by the others as being the killer, until the end.

The setting of the book is the late 16th century, in Istanbul. Elegant Effendi and his murderer are both artists: miniaturists and illustrators. Other important characters are Enishte Effendi, a master artist, his nephew, called Black, who too is a miniaturist, and his daughter Shekure. Black had fallen in love with Shekure, but it was not possible for them to marry. Black left Istanbul and returned after twelve years. Meanwhile, Shekure got married three years after he left, and has two sons. However her husband disappeared years ago and is presumed to be dead. Now her husband's brother Hasan, wants to marry her as does Black.

Pamuk's descriptions and evocations are like the miniatures he describes. Very detailed, very pictursque and paying attention to finer nuances which can be used to for different effects, at different times. It is a fascinating read, no doubt. However, it is very slow in the beginning. One has to literally plod through it to get to the end. That is worthwhile. I must mention it again, that this is not an effortless read. I am in no hurry read other books by him!

My Name is Red by Orhan Pamuk (Laura)

My Name is RedOrhan Pamuk
413 pages


I really enjoy reading prize-winning authors. I have a long-term goal to read all Booker, Pulitzer, Orange and Nobel winners. But with my latest read I learned that just because an author won a prize, and just because umpteen people have raved about said author, doesn’t mean I will enjoy their work.

Orhan Pamuk won the 2006 Nobel Prize for Literature. My Name is Red is set in the late 16th century during the Ottoman Empire. The central figures are artists, miniaturist painters working for Sultan Murat III, who had several books produced during his reign, all including the work of prominent Ottoman miniaturists.

The book is a mystery, beginning with the murder of a miniaturist. The story is told from numerous points of view. All of this initially intrigued me, but I didn’t make it past page 85. The intricacies of miniaturist painting, the parables and cultural references, the unbearably slow development of the mystery … I found myself getting lost, re-reading, and repeatedly falling asleep in my chair. What have I missed? Was I crazy to throw My Name is Red at the wall?

My Name Is Red by Orhan Pamuk

Title:- My Name Is Red
Genre:- Fiction
Subgenre:- Novel
Author:- Orhan Pamuk
Translator:- Erdağ M. Göknar
Publisher:- Random House
ISBN Number:- 0-375-70685-2
Price:- US $ 14.95/Canada $ 22.95/Indian Rs. 220

The Blurb

At once a fiendishly devious mystery, a beguiling love story, and a brilliant symposium on the power of art, My Name Is Red is a transporting tale set amid the splendor and religious intrigue of sixteenth-century Istanbul.

The Sultan has commissioned a cadre of the most acclaimed artists in the land to create a great book celebrating the glories of his realm. Their task: to illuminate the work in the European style. But because figurative art can be deemed an affront to Islam, this commission is a dangerous proposition indeed. And when one of the master miniaturists disappears, the only clue to the mystery lies in the half-finished illuminations themselves. Part fantasy and part philosophical puzzle, My Name Is Red is a kaleidoscopic journey into the introspection of art, religion, love, sex, and power.

The Review

Easily one of Orhan Pamuk's more talked about books, ‘My Name Is Red’ by the turkish author has been in the limelight for all sorts of reasons. It has had the honour of being one of the most critically acclaimed works of the Nobel Laureate, as well as suffered ignominy at the hands of Turkish fundamentalists, leading to the prosecution of Turkey’s most fearless and talented living novelist.

The novel recounts the story of four master miniaturists engaged at the royal atelier in the creation of a commemorative story in verse, the Book Of Festivities to mark the thousandth anniversary of the Hegira. Their work is to illustrate and embellish the book in the Venetian style making use of the techniques of perspective and idolatry, which were at the time deemed an affront to Islam. When one of the master miniaturists protests, he is found killed at the bottom of a well. The quest for the killer played against the backdrop of sixteenth-century Istanbul and the tragic courtship of Black, a miniaturist and Shekure, Enishte Effendi’s daughter make for a compelling read.

Like all great novels, the unraveling mystery becomes a metaphor for the unfolding of human spirit and conscience. However, what is most remarkable about Pamuk and what sets him apart from his coevals is the extent of scholarship and omniscience that he commands. It places him as a Turkish master in the cohorts of Dickens, Proust and Mann - arguably the greatest writers of English, French and German respectively. Incidentally, Mann himself won the Nobel in 1929 for The Motion Mountain. (I shall review this work soon.)

Though the theme of the novel concentrates on the philosophical questions of the need and importance of style and signature in the arts of painting and illustration, Pamuk manages to lighten the mood by using the motifs of Nusret Hoja and the upcoming coffeehouse. The latter is depicted as the cynosure of all depravity where dervishes dance late into the night and blasphemous stories are retold in a bid to pollute people’s minds.

Each book has its moments, and this novel is no exception. Perhaps the most poignant moment is the one when Master Osman, the head miniaturist of the royal atelier, cloyed by the sight of the most perfect of all paintings in the royal treasury, blinds himself with the same plume needle that the master of masters Bihzad had once used to blind himself. Also Nizami’s tale of Husrev and Shirin has been evoked a countless number of times, and to good use.

Pamuk manages to concoct a wonderful fantasy hemmed by melancholy and tragedy in a way nobody has ever done before. It is ironic that Pamuk who secretly advocates the futility of style in the book has inadvertently ended up creating a very realistic, spartan and distinct style all his own.

Undoubtedly, ‘My Name Is Red’ is a work of genius! A must read!!!